Making Collagraph Prints E-Book

Suzie MacKenzie

• Herausgeber: Crowood
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2019

Beschreibung

Collagraph printmaking is an accessible and environmentally friendly way of making striking prints with a unique texture. At its simplest it is a method of printing from collaged plates; at its most sophisticated, it is an innovative and exciting experimental medium. This book is a guide to the technique, with step-by-step instructions for creating and printing simple plates for the beginner, as well as tips, ideas and directions for those with more experience. There is advice on how to get started at the kitchen table; a guide to additional materials and equipment; step-by-step instructions for building collagraph plates and techniques for printing in monochrome using relief and intaglio methods. This will be of great interest to all printmakers, designers, artists, textile designers, teachers and craftsmen. It is superbly illustrated with 133 colour photographs, and Suzie MacKenzie is an award-winning artist printmaker with has private collections worldwide.

Leseprobe

MAKING

Collagraph Prints

MAKING

Collagraph Prints

SUZIE MACKENZIE

THE CROWOOD PRESS

First published in 2019 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2019

© Suzie MacKenzie 2019

All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 582 4

Acknowledgements

My heartfelt thanks go to the printmakers who have been generous enough to allow their work to be included in this book. To all the printmakers and print technicians who have shared techniques and procedures with me over the years, thank you, with a special mention to the following teachers from whom I have learnt so much: Dave Gibbs at Loughborough University’s School of Art and Design, who first introduced me to collagraph, along with many other printmaking techniques; Brian MacBeath at Highland Print Studio, whose teaching encouraged my obsession; Nicholas Devison at Edinburgh Print Studio for his invaluable tips and individual approach; and last but not least Charles Shearer at Leicester Print Workshop and at Orkney College UHI, for his inspirational printmaking magic. Grateful thanks go to Cheryl Bickham for single-handedly setting up and running the wonderfully supportive and exciting Collagraph World Wide Facebook group, an irreplaceable resource for those working in the medium, through which I have been able to connect with many of the printmakers featured in this book and to gain a deeper understanding of some of the processes outlined here. And finally, thank you from the bottom of my heart to Richard, without whose unfailing support – in so many ways – this book could never have been written.

CONTENTS

INTRODUCTION

1 MATERIALS AND EQUIPMENT

2 BUILDING A SIMPLE COLLAGRAPH PLATE

3 BUILDING MORE COMPLEX COLLAGRAPH PLATES

4 PRINTING IN MONOCHROME

5 PRINTING IN COLOUR

6 PROOFINGAND EDITIONING

GLOSSARY OF TERMS

BIBLIOGRAPHY AND FURTHER READING

UK SUPPLIERS

LIST OF CONTRIBUTORS

INDEX

INTRODUCTION

Collagraph is a relatively recent and highly versatile printmaking technique that, in essence, involves building a printmaking plate from readily available non-toxic materials. The plates can be inked and printed using the relief method, where ink lies on the upper surfaces of the plate, or, more usually, using the intaglio method, where ink remains in the recesses of the plate; using a combination of both methods in the same print; or using no ink at all to create an embossed image (also known as a blind emboss). It is a highly accessible process, in that the plates themselves can be constructed easily at home from everyday materials, and although intaglio printing requires the use of an etching press, plates constructed for relief printing can be printed by hand without a press. Collagraph has the potential to be highly expressive in allowing for textural effects that are not easily achievable with other types of printmaking. By careful choice of inks and adhesives, this method can be completely non-toxic and environmentally friendly, particularly if the materials used to build the plates are recycled.

It is not possible to pinpoint the exact beginning of collagraph as a printmaking medium; like so many innovations in art and other fields, experiments began independently in different locations across the world. In the late nineteenth century, French sculptor Pierre Roche was experimenting by taking prints from a moulded plaster matrix; in the early twentieth century Picasso, Braque and others began to experiment in collage, anticipating what was perhaps an inevitable development in printmaking. Innovations in modern adhesives, fillers and acrylics had already encouraged further experimentation by the time artist Glen Alps was credited with first coining the term in 1950s America.

The word’s own origin is from the Greek words kola, or glue, and graphikos, meaning something drawn or written; although sometimes spelled ‘collograph’, the original Greek should give an indication of the standard spelling. To add confusion, the technique is also occasionally referred to as ‘collotype’, which in fact is a completely separate, early photographic medium that bears no relationship to this printmaking method.

The versatility and expressiveness of collagraph lies in the huge variety of approaches to plate-making. The plate can be built up by affixing textures to it; it can be cut into; it can be initially roughened, and then worked back into with artists’ mediums; it can be worked in a very painterly fashion, or in a controlled, graphic style; and of course any combination of these techniques, and more. There has been much discussion regarding what exactly the term ‘collagraph’ covers – its etymology suggesting simply a plate with materials stuck to it. Different approaches, all subsumed under the term collagraph, include ‘silk aquatint’ or ‘silk mezzotint’, ‘drypoint’, ‘chipboard relief’, ‘carborundum print’ and ‘card cut’ – but the widest possible approach has been taken in this book. As a result you will find discussion of a number of different ways of working that fall under the ‘experimental printmaking’ ethos of collagraph.

One of the great joys of this medium is its flexibility. The intention in writing this book was not to attempt to construct a definitive manual, but rather a guide to one technique that can create successful prints in a simple way, while at the same time giving an overview of some of the many other possible approaches, within the limitations of this slim volume. Other makers of collagraph embrace very different methods of working; there are many ways of making, and personal choice and growing experience will enable the reader to build on some of the suggestions made here, finding his or her own way with the medium. Collagraph has been referred to as ‘the poor man’s etching’, but it is the author’s aim in this book to introduce what is arguably the richest of all printmaking mediums.

CHAPTER ONE

MATERIALS AND EQUIPMENT

Plate-Making Materials

The Base Plate

When making collagraphs, the surface that the print is taken from is usually called a plate. Acrylic sheet, sheet metals such as aluminium or steel, and wood-based materials such as thin plywood or 3mm MDF all work well as a base for collagraph. Cardboards such as environmount, greyboard, millboard, paper drypoint plates and standard mountboard – which comes in textured and untextured finishes – make excellent plates as they are inexpensive as well as easy to cut, work, and glue textures to. Boards made from layers of paper laminated together, such as mountboard or environmount, are ideal for the ‘cutting-and-peeling’ approach to platemaking.

Materials for Adding to the Plate

When beginning to experiment with collagraph, there is often an overwhelming desire to collect anything with an interesting texture to add to the plate. However, there are a couple of things that should be borne in mind at this point; firstly, remember that anything selected must be stuck firmly to the plate – some materials, for example fresh plant material, are difficult if not impossible to stick securely; and secondly, that chunky or heavily textured materials of any kind should be avoided – ‘paper-thin’ is best. Thicker items and anything absorbent – string, fabric, corrugated cardboard, plant stems – will trap excess amounts of ink either within the material itself or around the edges and will cause pools of ink to spread across the print. While there are ways of dealing with these items to create successful prints from them, such as slicing them lengthwise or embedding them in medium, it is easiest to avoid them when starting out and save them for exploration once you have more experience. Further, it takes some time to begin to appreciate which items really will print in interesting ways – some very promising-looking textures can make uninteresting printed areas, while other quite unpromising materials prove exciting when printed. Experience will help you to assess these with more success as you progress. The following materials all work well for plate-building:

Fig. 1.1 The plate can be made of anything that is thin and sturdy enough to go through the press (if it is to be intaglio-printed), is easy to attach materials to, and also easy to cut into and mark if you wish to work in this manner.

•All types of papers, including hand-made and textured papers with inclusions, tissue paper, brown wrapping paper, sandpaper (medium grade to begin with, but later experiment with the different effects fine and coarse grades make) and textured wallpapers. They are easy to cut or tear and to glue, and they print well. A word of caution about textured wallpapers – the cheaper, embossed paper type works better than the blown vinyl papers, which are spongy and tend to compress under the pressure of the press and therefore do not make for such a successful print.

Fig. 1.2 Remember that the colour of the papers used for platemaking is irrelevant and will neither show nor affect the colours in your finished print – only the texture matters. That said, at the inking and printing stage it is easier to get an idea of how the print will work if the papers are white or light-coloured; some printmakers like to give the completed plate a spray with white gloss paint as a sealant so that any colours are covered.

Fig. 1.3 Tapes and sticky-backed plastic are best used over larger areas of the plate as small pieces can peel off after repeated wiping and cleaning. H ow well they perform depends very much on the brand and this is not always easy to predict; more expensive is not always better in this case.

•Foil and sticky-backed plastics, which come in clear and textured varieties. The clear type wipes almost clean when printing and can work well for large, light-toned areas. The blackboard-textured type prints an attractive textured mid-tone. Aluminium foil can be used either crumpled or smooth for various effects.

•All types of tape – masking tape, parcel tape, duct tape, aluminium tape. They make interesting geometric shapes and can be cut or torn into a variety of shapes.

•Thin fabrics such as organza and scrim. These can also be frayed to make interesting textures. It is easy to remove threads from scrim to create a looser weave that holds the ink differently.

Fig. 1.4 Try to avoid using thicker fabrics, which have a tendency to soak up the ink and cause pooling on the print unless carefully and thoroughly sealed.

•Artists’ acrylic gels, pastes and mediums. These are available in a variety of brands and a range of different bodies and textures, and are invaluable in creating interesting, painterly marks. Gritty mediums such as micacious iron oxide, moulding pastes and pumice gels are good for holding ink and creating dark areas. A carborundum paste is available commercially that is more controllable than loose carborundum, though more expensive. Flat, glossy mediums will wipe nearly clean and create lighter areas in the print – builder’s wood glue, the white type, also works well for this. Heavy gels will hold their texture on drying and print according to how they have been applied – seeChapter 3 for more detailed information. Thick acrylic paint also works well, though it is best to use white as it makes it easier to see when inking and wiping the plate.

Fig. 1.5 Traditionally, printmakers have used carborundum to achieve velvety dark areas in the print. However, this has a tendency to get everywhere, and there are health and safety considerations with its use, as it is a fine silicon carbide grit. Alternatives such as those shown here are now available.

•Tile adhesive – the waterproof type for bathroom tiling. This can also be used for coating the plate, creating textures that can be worked into before it dries. As it is relatively gritty it will print dark, but can be sanded with wet-and-dry paper or worked over with wood glue or acrylic mediums in layers to create light areas.

•Naturally-occurring items such as crushed eggshells and coffee grounds. When applied with glue, these will hold ink and print dark. Other natural materials that adhere and print well include dried flowers, grasses, leaves and feathers.

Fig. 1.6 Naturally occurring materials should be dried, and pressed if necessary, so that they can be glued to the plate thoroughly and will be robust enough to go through the inking, wiping, printing and cleaning process the required number of times.

•Adhesives. Waterproof PVA, or white builder’s wood glue, forms a strong bond, and can also be used as a gloss medium and for mixing with carborundum, eggshells, sand or coffee grounds. Its use is recommended for plates made from wood-based materials such as MDF, plywood and cardboards. Spray mount also provides a strong, almost instant bond to cardboard plates that is resilient enough for editions of thirty and more, though they can begin to dissolve if you use white spirit to clean the plate. When gluing to metal plates it is advisable to use two-part epoxy glues such as Araldite. It is useful to have access to boards and weights (books or bricks), or joiners’ clamps, to compress the plate while the glue sets.

Fig. 1.7 The type of adhesive you choose should depend on the material you have chosen as the base plate for your collagraph.

•Sealants. Different collagraph printmakers work with different sealants, and some do not use a sealant at all – as with so many facets of printmaking this is largely a matter of personal preference and what works well for any particular type of plate. The purpose of sealing the plate is essentially to stop the ink being absorbed by the materials used in its construction; depending on how your own plates are made, you may find that the ink itself seals the plate after the first application. However, if experimenting with different colours in printing, it is important to seal so that the plate can be cleaned thoroughly. Here are some suggestions for suitable materials to use:

A very dilute solution of white builders’ wood glue, thin enough not to obscure any fine detail and which soaks into the absorbent areas of the plate, creating a stronger bond for anything that is stuck to it, works well. For areas that are to print lighter, work over with extra coats and finish with a thin coat of gloss acrylic spray varnish.

Shellac, which can be bought ready-mixed or as flakes for mixing with methylated spirits (button polish and knotting varnish are also shellac-based products) is a favourite sealant among many collagraphers. If you mix your own, it is possible to alter the consistency and build up layers so that some areas of the plate wipe cleaner – and print lighter – than others. The mix proportions are not critical, but a couple of centimetres of flakes in a jam-jar topped up to roughly twice the level with methylated spirits is a good place to start; add more methylated spirits for a thinner, more dilute mix, and more flakes for a thicker mix. The flakes will take a while to dissolve, so it is best prepared in advance. Thin coats of freshly mixed shellac will dry within a few minutes ready for printing, dependant on ambient temperature and humidity. It will keep well for weeks in a sealed jar.

For many years Johnson’s Klear floor varnish, now sold as Johnson’s Pledge multisurface polish, essentially a very dilute acrylic gloss varnish, was recommended for collagraph plate-making. However, the formula has been altered many printmakers consider it is no longer as effective as a sealant.

Some printmakers use yacht varnish to seal their plates; others prefer a gloss medium such as Liquitex.

Fig. 1.8 The sealant you choose can depend on personal preference, local availability, health and safety considerations – and even ethical ones; for example, vegan printmakers do not find it acceptable to use shellac, which is made from the secretions of the lac beetle.

Whatever sealant you use, it is advisable to decant a little into a small container for use at any one time and then to discard the remainder, as the brush or applicator tends to pick up tiny specks of plate materials that can then contaminate the sealant and may spoil the next plate.

If the plate is constructed entirely of non-absorbent materials, then there really is no need to seal it – indeed, sealing products applied on top of shiny materials such as clear sticky-backed plastic will wear off quite quickly during the printmaking and plate-cleaning process. While this can lead to some interesting effects in printing, it is something that should be borne in mind.

If you are sealing the plate, it should be sealed on the front, back and edges. There are two reasons for this: ease of cleaning, and also because this will help to prevent the plate from curling (which is particularly important when using card plates).

Equipment and Sundries

Here is some other equipment that you will need when starting out in printmaking:

•Scissors, scalpels and cutting knives. To prepare the plate you will need scissors and a sharp craft knife or scalpel for cutting materials and making marks in the plate. You will find that the different scalpel blades available are useful for cutting different types of line; buy plenty of blades and change them very frequently. X-Acto and Fiskars also make swivel-headed craft knives that some collagraphers find very useful.